Since our game is almost entirely from a three-quarter, top-down viewpoint we wanted to use the cinematics to give players views they simply didn't get in game a bit more sense of place and environment with vistas they couldn't see otherwise.Īlso, Vader is Luke's father, Snape kills Dumbledore, and Bruce Willis was dead the whole time. You could consider the cinematics in Torchlight II as having two majors and two minors. We tried to focus on the opening and closing cinematics and treat the two cinematics in the middle more as transitions. Why present a bit more story if you're just gonna spoil it ahead of time?
What can you tell us about the other cut scenes in Torchlight II? It seemed like just an absolute no-brainer for what we wanted stylistically and what they have shown to be so great at in their own games… and it proved to be so. When we asked them for recommendations they offered to take on the project themselves and we immediately jumped at the chance to work with them. In our search for the right animation studio, we knew Jeff Agala and his art team at Klei came from a traditional 2D animation background. What made you choose to work with Klei, and what was the collaborative process like? With that sort of style in mind, doing it all in Flash became a really attractive option. Some of the inspirations included the opening 2D sequence in Kung-Fu Panda, the cinematics from Heavenly Sword, the flashback God of War 3 cinematics, and Samurai Jack. Our initial mockups looked like something that played out on a parchment surface primarily muted colors with some vibrant colors for punctuation/contrast and a more graphic, inked rendering style. I think part of the hope is that going that route would be an unexpected solution that also meshed with our restrictions. We landed on doing something that was heavily stylized and 2D. When we started talking about doing cinematics we also had to be pragmatic… we couldn't go big-budget CG, nor did we want to go with in-game cutscenes. We're still not making a "story game", but I think we do a much greater job for providing context and motivation with Torchlight II. We wanted to make sure we addressed that for Torchlight II. We had a lot of our backstory and key points mapped out "in our heads" (we have a collective hive mind), and we tried to hint at greater things where we could, but it wasn't necessarily translating into a narrative. Like I said, we didn't have a whole lot of time to invest into properly setting up, fleshing out, and delivering a particularly engaging story for the first Torchlight. Two, we were very aware that the story was an area where we could improve upon Torchlight greatly in a sequel. One, we simply had the time and budget for it this time around… things that were in short supply for the first game. It was really two things that led to the decision to include cinematics in Torchlight II. What led to the decision to include cinematics in Torchlight II? Here's Jason Beck with some insight into the process. JD Wiker wrote the script, and Matt Uelmen assisted with sound effects and provided the score. Art Director Jason Beck created all the storyboards, and Klei Entertainment animated the scenes with sound effects. This particular cinematic opens the game, filling in the story between the end of Torchlight and the beginning of your hero's quest in Torchlight II.
#TNEXT TORCHLIGHT GAME MOD#
A fun, crunchy action-RPG, this one game that oozes style, care, and polish out of every single pixel and is a definite must to pick up if you like RPGs or just having some mindless fun.Ĭheck out the bewildering bevy of mods all in our Mod Spotlight for Torchlight. The endless randomization ensures that you’ll never be playing the same game twice.
#TNEXT TORCHLIGHT GAME FULL#
You’ll set out into the nearby mountains and depths below to discover the full extent of Ember’s influence on the civilizations that have come before.Ĭhoose from among three character classes, and venture from the safety of the town of Torchlight into randomly generated dungeon levels, with a huge variety of creepy monsters, endless variations of loot to find, and quests to complete. It’s a powerful thing, and everyone knows power, well.
A booming mining town that grew up around unbelievably rich veins of Ember, that rare ore with the power to enchant-or corrupt-everything it touches.
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